Up for sale my Yamaha QL1 Digital Mixer in wonderfully used condition,look great and beautiful in all ramification,sales include Original package box and all accessories.
Asking price:4.200 USD
Email: gearend99232@gmail.com

The Behringer Crave is a radically new synth combines the best of some of the most famous historical synths of all time - including the celebrated oscillator of the Sequential Prophet 5, the famous Ladder Filter from Moog and the modularity from 1970 modular synths, together with a modern sequencer and arpeggiator. Crave is sure to be a superb addition to any synth enthusiast's setup.
Legendary synthesizer design. Classic analogue sound. The Behringer Crave Synthesizer is an excellent introduction to semi-modular and analogue synthesizers. And an even better addition to your set up if you're a synth veteran.
Emulating a legendary and celebrated oscillator from the heyday of analogue synthesizers - the Behringer Crave is a sonic marvel. As well as its powerful oscillator, the Crave also features an incredible ladder filter based on a vintage design. This helps to round off your sound design process with a beautiful finishing touch.
The Behringer Crave features an extensive patchbay that will offer incredible depth during the sound crafting process. The modular patchbay provides huge scope to the already rich sound creation process capable from the Crave's excellent oscillator and filter. Taking notes from the legends of synthesizer design, the Crave's attractive price point makes it an essential asset to your synth set up - beginner or otherwise.

I am not sure what you were up to this weekend-- following the end of the U.S. shutdown, reading a book, enjoying a slice of pie. Whatever it was, you may not have noticed that radio changed forever.
Now, there will always be those who need to hear Jimmy Buffett once again, who love their “Margaritaville” and their Classic Rock Radio. I am not here for those people. I am here for folks who feel that their listening experience(s) are lacking something. I want to provide that missing mystery element.
And I want to do so using these 3 free, Public Domain Internet Radio Stations:
Endless Dub Radio-- You may love dub music as I do. What I wanted to do was to lay down a number of beat and basslines, and to allow the computer to select randomly from sets of sounds, looping a set of these sounds over the beats. I call the loop sets “Sessions”, and each has many sounds to choose from. As a result, when you tune in to Endless Dub Radio, you hear fresh version after version of dub-- never the same moment twice. To make things better, and in the spirit of dub music, you can bring the sounds in or out. Certain browsers allow you control the level(s) of each of the embedded players, and all allow you to turn players on or off. Tracks load themselves after each beat segment fades out, so the stream continues to evolve. Participate as much or as little as you choose, Endless Dub Radio is for you, not for profit, or for any commercial interests whatsoever: http://www.thomasparksolutions4.com/
Generative Soundscape Radio-- In a similar spirit, and with a similar functionality, GSR pulls randomly-chosen sets of sounds from particular Sessions. These sounds are soundscape elements. There are no beats with this station, just quiet ambient and drone elements that loop for periods of time and, when the first sound ends, cue a new set of sounds to load. This station has effectively held my interest for hours on end, and I have also managed to sleep while letting it play. Listeners can change sound levels using embedded controls. Generative Soundscape Radio is also not-for-profit, and its code and sounds are available in the Public Domain: http://www.thomasparksolutions.com/
Thomas Park Audio Explorer-- Listening to a radio station compose pieces for you can be cool, as with these first two stations. Sometimes you may want to listen to pre-recorded material. The Audio Explorer is great for this. Where it one-ups conventional radio is that it draws from multiple playlists, each chosen at random. These playlists, in turn, contain as many as thousands of unique tracks. These tracks are all cc-licensed. Listening becomes a process of discovery. Listeners are able to (and encouraged to) download tracks that interest them from the player page. The Audio Explorer was created in order to help adventurous listeners find music they might have missed. It brings no money in for Thomas Park or for anyone, and its components are Public Domain: http://www.thomasparksolutions3.com/
So, while you were eating pie this weekend, can we summarize the main change in radio? It was that, radio was always run by commercial entities, and served other purposes than its listeners. As of now, radio is free, generative, public domain, and created to serve you.

I am not sure what you were up to this weekend-- following the end of the U.S. shutdown, reading a book, enjoying a slice of pie. Whatever it was, you may not have noticed that radio changed forever.

Now, there will always be those who need to hear Jimmy Buffett once again, who love their “Margaritaville” and their Classic Rock Radio. I am not here for those people. I am here for folks who feel that their listening experience(s) are lacking something. I want to provide that missing mystery element.

And I want to do so using these 3 free, Public Domain Internet Radio Stations:

Endless Dub Radio-- You may love dub music as I do. What I wanted to do was to lay down a number of beat and basslines, and to allow the computer to select randomly from sets of sounds, looping a set of these sounds over the beats. I call the loop sets “Sessions”, and each has many sounds to choose from. As a result, when you tune in to Endless Dub Radio, you hear fresh version after version of dub-- never the same moment twice. To make things better, and in the spirit of dub music, you can bring the sounds in or out. Certain browsers allow you control the level(s) of each of the embedded players, and all allow you to turn players on or off. Tracks load themselves after each beat segment fades out, so the stream continues to evolve. Participate as much or as little as you choose, Endless Dub Radio is for you, not for profit, or for any commercial interests whatsoever: http://www.thomasparksolutions4.com/

Generative Soundscape Radio-- In a similar spirit, and with a similar functionality, GSR pulls randomly-chosen sets of sounds from particular Sessions. These sounds are soundscape elements. There are no beats with this station, just quiet ambient and drone elements that loop for periods of time and, when the first sound ends, cue a new set of sounds to load. This station has effectively held my interest for hours on end, and I have also managed to sleep while letting it play. Listeners can change sound levels using embedded controls. Generative Soundscape Radio is also not-for-profit, and its code and sounds are available in the Public Domain: http://www.thomasparksolutions.com/

Thomas Park Audio Explorer-- Listening to a radio station compose pieces for you can be cool, as with these first two stations. Sometimes you may want to listen to pre-recorded material. The Audio Explorer is great for this. Where it one-ups conventional radio is that it draws from multiple playlists, each chosen at random. These playlists, in turn, contain as many as thousands of unique tracks. These tracks are all cc-licensed. Listening becomes a process of discovery. Listeners are able to (and encouraged to) download tracks that interest them from the player page. The Audio Explorer was created in order to help adventurous listeners find music they might have missed. It brings no money in for Thomas Park or for anyone, and its components are Public Domain: http://www.thomasparksolutions3.com/

So, while you were eating pie this weekend, can we summarize the main change in radio? It was that, radio was always run by commercial entities, and served other purposes than its listeners. As of now, radio is free, generative, public domain, and created to serve you.

The C15 is a keyboard instrument made for performing musicians. Its character stems from a puristic digital engine which produces a unique palette of sounds seamlessly spanning from organic and acoustic to experimental and electronic.
With its top-quality keybed, dual full-length ribbons, special pitch bender, and four pedal connections the C15 is designed for real-time performance, making it more like a traditional musical instrument than a typical synthesizer. It is resolutely an instrument to be played by musicians, not machines. Therefore it has no MIDI and does not contain LFOs or internal sequencers.
Like many classical instrument builders, we have chosen wood for most of the housing. The rest is made of steel or aluminium. The concept features a two-part design. The compact base unit is for playing and includes all performance elements as well as the sound engine and audio components. It can be easily detached from the panel unit and played autonomously.
The panel unit is for detailed parameter control and sound design. Its haptic layout is based on the principle of muscle memory. In addition, a graphical user interface can be displayed and edited on any device that has a browser and Wi-Fi. This interface is optimized for touch screens and can be intuitively zoomed and panned with common gestures.
Two-Part Construction
The housing of the C15 synthesizer consists of two detachable parts: the base unit and the panel unit. The compact base unit contains all of the instrument's processor and audio components; it can be used without the panel unit in "play only" situations. The panel unit is an haptic user interface, mainly for sound design, but it can also be useful to control a more complex performance.
Play Interface
For the 61-note keyboard we have chosen the best semi-weighted model from the quality manufacturer Fatar. Experienced musicians will appreciate the long key arms for their improved play feeling.
Unlike with MIDI, the velocities of the keys and the values of the other physical control elements are precisely resolved into thousands of steps, and there is no loss of precision on the way to the sound engine.
The musician can make use of up to 8 physical controls: aftertouch, a pitchbend lever, two ribbons and up to four pedals. A coefficient matrix gives full flexibility for their mapping to the Macro Controls.
The pitchbend lever is a special design using magnetic forces for fast and natural horizontal movements from a center position.
The most prominent control elements of the C15 are the two long ribbons. Each of them includes an indicator bar of 33 LEDs showing the control position. The ribbons can be used for performance as well as for parameter editing. You can choose if they work in relative or absolute mode, with an optional return-to-center behavior.
A small control panel with an OLED display (128 x 32 dots) provides control over the ribbon functions and is also used for note and octave shift. If the panel unit is not mounted, this panel together with the ribbons will give access to preset selection and morphing, parameter editing and global settings like tune or velocity curves.
Pedals are the best way to control sound parameters while playing with both hands. Therefore the C15 allows up to 4 pedals to be connected. Footswitches are also supported, but for expressive playing we recommend continous damper/sustain pedals instead of switches - for this purpose we are also developing special pedal units.
Sound Editing Panels
The idea behind the panel unit is to provide a large area with many haptical controls, so that the functionality can be learned by the motoric memory, like the playing of a keyboard.
Panel Interface
Four of the five panels are equipped with 24 high-quality buttons and corresponding state-indicating LEDs. Their main purpose is the selection of parameters. The labeling and grouping of the buttons is realized by exchangable magnetic overlays. This makes the user interface flexible. When fast switching between sounds becomes crucial the selection panels can be re-defined as direct access to presets. Future development will also bring new synth engines to which the user interface can be adapted.
The central panel - with a crisp OLED display (256 x 64 dots), an incremental encoder, and 18 buttons with dedicated functions - is the place where parameter values are displayed and edited, preset banks can be browsed and new presets can be stored. Many other functions are accessible here.
The Graphical User Interface
In addition to its hardware user interface, the C15 provides a visual access to its parameters and presets on computer screens and mobile devices. This unique approach is described here.
The Synthesis Engine
The C15 is a polyphonic instrument based on digital sound synthesis. The purpose of the audio engine is not to model analog machines of the past or to play back samples or complex waveforms. Instead, we have chosen a puristic approach.
Based on elementary mathematic algorithms, the signals are generated, modulated, shaped, and filtered in realtime. Therefore the sound can be dramatically influenced by the dynamic playing of a musician.
The signal processing structure is the result of years of evolution and has been condensed down to an essential, yet powerful arrangement of carefully chosen components. The only signal sources are two sine wave oscillators. They are connected to each other and to a feedback bus for phase modulation and their signals are processed by two wave-shapers, a comb filter, a multi-mode filter, and a chain of five stereo effects.
Diagram
Block diagram of the synthesis engine. Click to enlarge and to see use cases.
Two mixers combine the signals from different points in the structure and forward their sum to the effects section and to the feedback bus. The sonic results of the feedback can become very complex and organic. With the Comb Filter running as a tuned resonator, the sound approaches that of acoustic instruments.
Our goal was not to create a universal sound engine or the most realistic imitation of existing instruments. Instead, we set out to create a sound source with a unique character, which at the same time offers endless variation and produces surprising results even after long periods of intensive exploration.
All possible sounds are reached without switching between different waveforms, filter types, effects, or signal path configurations. Everything can be continuously modulated, crossfaded, or morphed.
Read more about the engine on the Synth Engine page.
Open for New Sound Engines
The C15's sound engine is based on software running on an embedded computer. This means that the C15 can evolve without falling into obsolescence. Improved and new sound engines will be available in future. This also explains why we have chosen a generic parameter selection interface that can be re-defined by magnetic overlays.
Control
As a pure player instrument, the C15 is built for human control. You will not find modulation sources that create rhythmic patterns. We leave this to the musician. Instead, the C15 offers a large range of sensitivity thanks to the dynamics of the keys and extensive mapping possibilities for the signals coming from the two ribbons, the bender, the aftertouch and the up to four pedals. LFO-type of control signals can be easily produced by the specially designed lever of the bender.
The physical controls are routed to the Macro Controls, which are the main elements for influencing the sound of a preset. Each of them is freely assignable to up to 86 target parameters. The Macro Controls are the sources for an intuitive modulation system, where the effect of a modulation is directly shown as a movement of the target parameter. After assigning a Macro Control and adjusting its effect the sound designer also can give it a label that helps to understand its function.
The Preset System
Besides performance, the second important interaction with the C15 is sound design. The creations are stored by an advanced preset system which makes it easy to find and compare presets, to modify them, and to store new versions. They can be organized in a set of user-defined banks by intuitive copy, move and sort functions. The number of banks and presets per bank is not limited.
To help the user to find the right sounds, the preset system supports tagging and additional information that can be used for searching.
In a future update the C15 will also offer voice splitting and layering for two presets, and morphing as a powerful method to vary the sound in a transition between two presets.
Undo
The C15 provides virtually unlimited tree-based undo/redo functionality for all user interactions including parameter editing. This means you can always return to a sound that you had created some minutes ago. You can also jump between different branches of the undo tree which are automatically created when you undo and edit again.

The MS-101-RD Analog Synthesizer with 32 Full-Size Keys, 3340 VCO with 4 Simultaneous Waveforms, VCF, ADSR, 32-Step Sequencer, Arpeggiator and Live Performance Kit
+ Amazing monophonic synthesizer with authentic 3340 analog oscillator for insanely fat music creation
+ 32 semi-weighted full-size keys for great playability
+ Pure analog signal path based on legendary VCO, VCF and VCA designs to recreate the classic sound performance
+ Oscillator with 4 simultaneously-mixable waveforms: saw, triangle, square/pwm and octave-divided square sub-oscillator
+ Resonant VCF can be modulated with ADSR, LFO, keyboard tracking and bender controller
+ 6 FM sources allow for creative VCF modulation and unheard of filter effects
+ ADSR envelope generator for incredible wave shaping
+ Easy-to-use 32-step sequencer with 64 sequence locations
+ Arpeggiator with wide patterns for great sound effects
+ Attachable handgrip included with pitch bend wheel and pitch modulation trigger
+ Guitar strap included for live jamming on stage
+ Bender assignable to VCO, VCF and pitch mod wheel on attachable handgrip
+ Noise generator can be used as modulation source for distortion-like effects
+ Incredible portamento function for fantastic sound effects
+ Pulse wave can be modulated by LFO, envelope and manually
+ 57 sliders and switches to give you direct and real-time access to all important parameters
+ External audio input for processing external sound sources
+ Comprehensive USB/MIDI implementation for connection to keyboard/sequencer
+ 3-Year Warranty Program*
+ Designed and engineered in the U.K.
MS-101-RD
The 1980s and ’90s spawned a new “wave” of synth performers including Devo, The Chemical Brothers, The Prodigy, The Crystal Method and a host of others, all empowered by the sound of a simple strap-on instrument that let keyboardists steal the...
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True to the Original
Great care has been taken in engineering the MS-101-RD, including the true to the original analog circuitry, legendary VCO, VCF and VCA designs, all of which combine to make it easy to recreate the classic sound performance. This highly-focused...
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Big, Fat Tones
The inspired synthesizer tracks laid down in the 1980s and ’90s are etched in the annals of progressive rock, wave, EDM and synth-pop music forever, making them truly classic in every sense of the word. The MS-101-RD lets you recreate all of that...
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Versatile Oscillator
MS-101-RD’s authentic 3340 Voltage Controlled Oscillator (VCO) provides an incredible range of 4 simultaneously-mixable waveforms for sculpting the perfect sound. Options include: saw, triangle, square/pwm and octave-divided square sub-oscillator....
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Versatile VCF
The very heart of MS-101-RD’s sound is its highly-flexible Voltage Control Filter (VCF), which includes faders for: cutoff Frequency (10 Hz to 20 kHz); Resonance (0 to self-oscillation); Envelope and Modulation depth, and Keyboard follow (0 to 100%).

Sirin Analog Messenger Of Joy is a limited-production analog synthesizer module based on the legendary Moog Taurus Bass sound engine, and created in celebration of the 2019 Moog House of Electronicus experience in Los Angeles, California.
Secured in a brushed stainless steel enclosure with a retro-inspired color palette, Sirin foretells of future joys and transports interdimensional energy with ease. An intoxicating conjuror of both quintessential lead and menacing Moog bass, Sirin’s fully-recallable analog sound engine originates with two analog Taurus Bass oscillators modified to soar octaves above the boundaries of its mythical ancestors. Sirin is the first instrument in Moog’s Taurus family of bass synthesizers designed to generate pitches far above middle C, inviting searing, soft, and even clangorous lead sounds with ease.
Sirin’s harmonic transmissions are dynamically shaped and sculpted by a classic 4-pole Moog Ladder filter, which operates in consummate harmony with two lightning-fast ADSR envelopes and a multi-wave LFO, offering a wide spectrum of expressive timbral variety and versatility.
Complemented with a classic knob-per-function interface and free Editor / Librarian software, Sirin is an easy-to-use analog instrument designed to effortlessly integrate with any DAW or MIDI controller to unlock a portable world of powerful analog sound anywhere you go. Save up to 128 presets in hardware, automate parameters, unlock hidden features, and explore the vast magical realms of analog synthesis.
A limited production run of 2500 Sirin are being produced by the employee-owners at the Moog Factory in Asheville, NC--after which no more will be available.

Grenoble-based music technology pioneers Arturia are breaking the mold yet again with the release of their first ever digital hardware synthesizer. New for NAMM 2019, MicroFreak is a bold, adventurous instrument that will both inspire newcomers with its ease of use and great sound, and also excite experienced players with its unusual, quirky features.
Combining the best of both worlds, MicroFreak includes a multi-mode digital oscillator with an Oberheim SEM-inspired analog filter. 7 of the oscillator modes are the result of a collaboration between Arturia and Eurorack legends Mutable Instruments, and let users control the sound of the iconic Plaits module in the comfort of an all-in-one hardware synth. The modes include Superwave, Harmonic Oscillator, Karplus-Strong, Wavetable, Virtual Analog, Waveshaper, FM, Grain, Chords, Speech, and Modal.
One of the most striking features of MicroFreak is its innovative PCB keyboard. Despite having no moving parts, it’s pressure sensitive and lightning-fast, and also offers poly-aftertouch. This unique functionality will also let you experiment with polyphonic express-enabled software instruments when MicroFreak is used as a USB-MIDI controller.
On top of its exceptional oscillators, filter, and interface, MicroFreak offers some seriously advanced features that other low-cost instruments can only dream of. A multi-point modulation matrix; an unique sequencer-arpeggiator with controlled randomness “Spice” and “Dice” parameters; a cycling envelope; 128 factory presets, and space for 64 user sounds; and a crystal-clear OLED screen
MicroFreak will contain 11 oscillator types at launch, but Arturia have made the unit capable of using new oscillators through official firmware updates in the future.
At $349 / 299€, MicroFreak is both a superb contender for “my first synth”, as well as an intriguing 2nd, 3rd, or 15th synth for the collector or experimental sound designer.
MicroFreak is currently in production, and is expected to arrive at retailers worldwide from April 1st, 2019. Arturia promise MicroFreak isn’t an April Fool’s joke.
Official Product Information
An affordable digital hardware synth with unusual oscillator modes, an analog filter, “Spice and Dice” sequencer, and a unique PCB keyboard. Featuring an exciting collaboration with Eurorack legends Mutable Instruments, MicroFreak offers many of the Plaits oscillators with added paraphony, and lets users explore and save presets, and experiment with a modulation matrix. This is a budget synth like no other.
Whether you’re looking for your first, affordable hardware synth or are collector looking for original sounds and unique interface, MicroFreak is the synth you need.
This out-there little music machine features a versatile digital oscillator so you can create rare and interesting sounds with ease. Modes like Texturer, KarplusStrong, Harmonic OSC, and Superwave give adventurous musicians the chance to explore totally new, unheard possibilities. Like having dozens of synths in just one instrument, both wild-eyed newcomers and seasoned professionals will fall in love with MicroFreak’s flexible, powerful synth engine.
MicroFreak packs so much in to such a compact instrument, you'll wonder how we did it. We'd love to say it was magic, but it was pure skill and passion.
Physical modelling, wavetable synthesis, virtual analog, there is nothing as complete and exciting as the MicroFreak oscillator on the market. It's hard to believe from such a small synth, but here it is, ready for you to explore. Excite your creativity and reward your curiosity with a large, diverse sound palette. MicroFreak features 13 awesome oscillators, 5 bespoke Arturia engines, and 8 modes from our partners at Mutable Instruments.
Even though MicroFreak has a digital oscillator at its heart, “opposites attract” as the saying goes. That’s why we’ve included a lush-sounding analog filter.
Inspired by the trailblazing 12-dB Oberheim SEM filter, you can make MicroFreak’s filter scream or whisper to taste. The filter is state-variable, and can even auto-oscillate! You can use this is any way you like, from taking the edge of the razor-sharp wavetable sounds, or automating the cutoff by modulating it with keyboard pressure or the in-built sequencer.
Wait. Did we mention that MicroFreak has a sequencer? And a mod matrix? Things are about to get seriously interesting...
MicroFreak is packed with unique, exciting features that let you create music with a fresh perspective.
Record up to four automations, edit notes per step or use the innovative Spice and Dice sequencer functions to find happy accidents. Add randomization to create evolving, original patterns, and virtually rewire and reconfigure its signal chain and controls with the 5x7 modulation matrix.
That’s right, it is. It isn’t really even a keyboard. It’s a PCB. Super-flat, with no moving parts. Will it track lightning-fast synth solos? You bet. Better than a traditional keyboard, actually.
Will it let you be expressive? Of course, it’s not only pressure sensitive, but also offers poly-aftertouch. This means each key can control parameters in a different way depending on how much you touch.
You can also use its USB, MIDI, and CV outputs to control instruments in your DAW and modular synths. This also means that you can also use MicroFreak as a controller to experience polyphonic aftertouch with cutting edge software instruments.

Rhythm is a Breeze
Swedish musical instrument company Elektron today announced Model:Samples, a six track sample based groovebox packing Elektron superpowers into a sleek, lightweight, and accessible package.
Compact in size, massive in sound. This easy-to-grasp six track sample based groovebox is perfect for entering the world of music making. The sound engine uses high-quality digital samples and the device comes with 300 hand selected sounds from Splice's renowned content library. The samples range from familiar kicks, snares, and hi-hats to exotic, never-before-heard alternatives. Of course there is plenty of space for your own sounds too. And thanks to the creative possibilities of the sound engine, you can easily personalize any sample until it sounds just the way you want it.
An Elektron first, this machine offers a complete set of tactile controls, with one function per knob. To shape your sound; just grab and twist. Then unleash your music spontaneously using the six tough, velocity sensitive pads. Record your every move live, or punch in your creation one step at a time using the superb Elektron sequencer. All this in a class compliant plug-and-play machine weighing in at under one kilogram, but packing the snarling sonic power you’ve come to expect from the ragged Swedish shoreline.
Model:Samples key features:
+ Control All lets you twist your sounds to oblivion. Then use Reload to take you back to where you started
+ Use Parameter Locks to automate parameters. Each step can have a totally different sound
+ Load six samples at once - just like a kit. Great when you have made a Pattern with Parameter Locks, LFOs etc... Load six new samples to instantly experiment and come up with unique and unexpected results
+ Write basslines and melodies using Chromatic Mode
+ New Chance parameter. Chance determines the possibility whether the sequencer steps on a track are triggered or not.
+ Combining Chance with the Control All functionality can lead to many interesting results and happy accidents
+ Record sequences with or without quantization. Steps can be micro-timed with individual Swing control per track
+ Individual Step Length per track
+ Individual Tempo Multiplier per track
+ Class compliant USB audio 2.0
Model:Samples specifications
- 6 Audio tracks (all of which may be used as MIDI tracks as well)
- 6 × Velocity sensitive pads
- 96 Projects
- 96 Patterns per Project
- 1 × Sample playback engine per track
- 1 × Resonant multimode filter per track
- 1 × Assignable LFO per track
- Delay and reverb send FX
- Elektron sequencer up to 64 steps with unique length and scale settings per track
- Real-time or grid recording of notes and parameters
- 64 MB sample memory
- 1 GB storage
- Class compliant USB audio 2.0
- 1 × 1/4" Headphones output
- 2 × 1/4" Balanced main outputs
- 1 × Hi-speed (micro) USB 2.0 port
- 1 × 3.5 mm standard audio minijack (TRS) for MIDI In
- 1 × 3.5 mm standard audio minijack (TRS) for MIDI Out/Thru
- 2 × slots for attaching Powerhandle BP-1 (battery pack to be released at a later date)
Dimensions
W270 × D180 × H40 mm (10.63 × 7.09 × 1.58") (including knobs and rubber feet)
Weight: approximately 0.814 kg
Pricing & availability
For pricing contact your local retailer.
Model:Samples will be available in February.

Welcome to the Encyclotronic NAMM LIST. An on-going digest of the latest electronic music news and events at the NAMM 2019 Convention in Anaheim, California January 24th to the 27th, and beyond.
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pocket operator goes modular!
the pocket operator™ family is breaking new frontiers – our small, battery operated and affordable synthesizer today expands into the modular analog universe.
with the introduction of three pre-configured chassis and 15 sound modules, there's finally a way for youto explore the pure fun of modular synthesis in a hassle free way.
we have created three kits that include everything you need to get started. just bend, assemble and patch! it's never been easier to get started with modular music making.
THE 16 IS A STAND-ALONE KEYBOARD WITH INDIVIDUAL TUNEABLE KEYS AND A PROGRAMMABLE STEP SEQUENCER.
NOTE: THE UNIT IS DESIGNED TO CONTROL THE 400 OR OTHER MODULAR SYNTHESIZERS. IT MAKES NO SOUND BY ITSELF,
BUT SENDS CV, PITCH AND TRIG.

pocket operator goes modular!
the pocket operator™ family is breaking new frontiers – our small, battery operated and affordable synthesizer today expands into the modular analog universe.
with the introduction of three pre-configured chassis and 15 sound modules, there's finally a way for youto explore the pure fun of modular synthesis in a hassle free way.
we have created three kits that include everything you need to get started. just bend, assemble and patch! it's never been easier to get started with modular music making.
THE 170 IS AN ANALOG MONOPHONIC SYNTHESIZER WITH BUILT-IN PROGRAMMABLE SEQUENCER.

pocket operator goes modular!
the pocket operator™ family is breaking new frontiers – our small, battery operated and affordable synthesizer today expands into the modular analog universe.
with the introduction of three pre-configured chassis and 15 sound modules, there's finally a way for youto explore the pure fun of modular synthesis in a hassle free way.
we have created three kits that include everything you need to get started. just bend, assemble and patch! it's never been easier to get started with modular music making.
THE 400 IS A TOP OF THE LINE ANALOG SYNTHESIZER WITH 3 OSCILLATORS, NOISE, RANDOM GENERATOR, 2 ENVELOPES, 2 VCA'S, LFO, FILTER, MIXER, SPEAKER BOX, POWER PACK AND A 1–16 STEP SEQUENCER , COMPLETE KIT WITH CHASSIS, 16 MODULES, 15 PATCH CABLES:

So, I have always wanted to create my own internet radio station, my very own, apart from Live 365, Stillstream, MindSpiral, and all of the other cool stations out there. My Audio Explorer app was close to being such a thing, but was missing just about 11-12 characters in JavaScript. I began taking a class in JavaScript this week, and was able to fill in the gap in my player code, so that it will keep playing without being prompted-- and now you can listen to the Thomas Park Audio Explorer uninterrupted. There are no commercial breaks, and a number of playlists are featured and selected at random, including, at this time, field recordings of caves and factories, old 78 rpm records, minimal techno from the Zimmer netlabel, all of Treetrunk Records, and more. Come on by, it's free- bookmark us and have a listen. You can even download tracks as they play: http://www.thomasparksolutions3.com/

An evolved next-generation analog synthesizer with huge potential for sound design and performance. We wanted to deliver a next-generation analog synthesizer for a new generation of musicians new to analog synthesis. That dream was realized in the development of the minilogue, which instantly made the analog synthesizer approachable.
In addition to emphasizing the same real analog sound and joy of controlling an electronic musical instrument offered by the original minilogue, the minilogue xd newly adds a digital multi-engine, effects, a powered-up sequencer, and micro tuning functionality, further expanding the possibilities for sound design and performance potential.
Four-voice polyphonic analog synthesis. The analog synthesizer circuit of the minilogue, whose genuine analog sound had a huge impact on the synth world, has been further developed for the minilogue xd.
Voice structure of minilogue xd is 2VCO + MULTI ENGINE, 1VCF, 2EG, 1VCA, and 1LFO. In addition to the distinctive circuits found in the series, such as wave shaping to shape the overtones of the oscillator and a sync/ring switch, there's also cross modulation, a sharp two-pole filter, and a drive switch that adds thickness and drives signal into minilogue xd’s filter. Every parameter has been tuned in detail based on what musicians want out of their synth. The sounds range from the warm pads typical of analog to fat basses and crisp lead sounds, covering every situation.
Of course, programs that you create can also be saved in the unit. Out of the box, minilogue xd comes loaded with 200 presets, and a total of 500 programs can be saved.
Equipped with a digital multi-engine
The additional sound design possibilities of digital sound are delivered by the multi-engine that's provided as a third oscillator in addition to the two analog VCOs. This engine, which is equipped with three different types of sound generator (noise, VPM, and user slot) lets you take advantage of a sonic character that's different than analog, and use it at the same time as the analog engine, infinitely expanding the potential of hybrid sound design.
Noise generator
The noise generator provides four types of noise that are indispensable for percussive sounds or for sound effects. You can use the digital filter to directly change the color of the noise.
VPM oscillator
minilogue xd’s multi-engine features a VPM (Variable Phase Modulation)/FM oscillator with a two-operator structure. It can produce sharp, metallic sounds with complex overtones beyond the possibilities offered by analog systems. With 16 types of oscillator and a SHAPE knob control, you'll be able to create complex sounds intuitively.
User oscillators
User oscillators allow you to load your own oscillator programs that you created or obtained via the internet. There are 16 user slots, as well as one type of morphing wavetable oscillator provided as a preset.
High-quality digital effects
minilogue xd’s high-quality digital effects use 32-bit floating point DSP processing, adding a finishing touch to its deep sound design platform. The three types (modulation effects, reverb, and delay) can be used simultaneously, letting you choose from a wide range of variations including chorus, ensemble, warm tape delay, and a diverse variety of reverb. The user effect slots allow you to load your own effect programs that you've created.
User customization brings out infinite potential
The minilogue xd features a customizable open environment. The unit comes with 16 user oscillator slots and 16 user effect slots that you can customize. Oscillators and user programs that you've created with the SDK (Software Development Kit) can be loaded into the minilogue xd via the dedicated librarian software.
What sounds might arise from the fusion of the expanded digital oscillators with analog synthesis? Create original programs, share code, and participate in the user community. You can start with sample code provided by KORG.
Polyphonic step sequencer controlled by 16 buttons
The step sequencer provides 16 steps, and supports both realtime recording and step recording. You can use the 16 step buttons to select a step directly, allowing quick editing to replace the pitch of a step or to mute it, or even improvisatory performances. Motion sequence lets you record the movements of up to four knobs, adding time-varying change to the sound, and you can record not only smooth changes in value but also values that change precisely at each step. You can use this to design the sound differently at each step; for example, you might create a drum pattern or sound effect from just a single program. This allows countless ideas to be unleashed.
A thoughtfully designed interface
Joystick
Controls pitch bend and modulation depth, etc. A desired parameter can also be assigned to the up/down axis.
Voice mode
The four voice modes were selected for the minilogue xd.
- POLY: The minilogue xd operates as a four-voice polyphonic synth.
- UNISON: The unit operates as a monophonic synth, with the four voices working in unison.
- CHORD: Chords are produced using one to four voices.
- ARP / LATCH: (ARP) Provides an arpeggiator with up to four voices that can also be used while the sequencer is running / (LATCH) Switches latch on or off.
A voice mode depth knob is also provided, which applies a corresponding effect for each mode.
- POLY: Turning the knob toward the right switches to DUO mode and deepens the detune.
- UNISON: Turning the knob toward the right deepens the detune.
- CHORD: Selects mono or chord type.
- ARP / LATCH: (ARP) Selects the arpeggiator type.
Micro tuning
The minilogue xd is equipped with the micro tuning function featured on the monologue, allowing you to individually adjust the pitch of each key. Built in are 23 preset tunings that include some created by Aphex Twin and Dorian Concept, and users can also create and store six user scales and six user octaves. Start by trying out the preset tunings of famous musicians, and then advance to creating your own original tunings.
Oscilloscope and motion view display
The organic EL display is now larger, and also provides oscilloscope functionality for you to view sound as the electrical signal's waveform. This makes parameter changes visible in real time, giving you visual feedback that helps you understand how the synthesizer works. The display can also show motion view for visualizing the movement of a stored motion sequence.
A full complement of input and output jacks
Output is now stereo
A stereo effect unit is provided at the final stage, and the output jacks are now also stereo. Spatial-type effects such as delay, reverb, and chorus will add an even more convincing touch to your thick analog synth sounds and sparkling digital synth sounds.
Damper pedal jack
A damper jack has been added in response to requests from artists and users.
Two CV IN jacks
Two CV IN jacks are provided, with voltage levels of -5V–+5V. In addition to CV/Gate, these can also input modulation signals, allowing you to use external devices to control parameters in the same way as moving the joystick up or down.

KORG volca modular is a semi-modular analog synthesizer in the KORG volca format that makes modular synthesis more accessible and understandable than ever before. Featuring 50 patch points for using the 20 included patch cables to connect the eight onboard modules in any way imaginable, volca modular was created with “West Coast Style” synthesis in mind, to offer a unique sound and design that deviates from traditional synthesis norms.
A semi-modular analog synthesizer that makes modular synthesis more accessible and understandable than ever before.
Creating new sounds that don’t exist in the outside world is an unending dream which has continued since the birth of electronic musical instruments. This dream has evolved and expanded throughout the development of new and unique music production devices.
The popularity of modular synthesizers around the world has generated new excitement and interest in the so-called "West Coast style" of synthesis that deviates from traditional synthesis norms.
The compact body of this volca synth features eight modules and 50 patch points. While learning the basics of a modular synth, you can use popular features of the volca synthesizer line to control a unique and different flavor of analog sounds.
An Analog Synth Composed of Eight modules
The volca modular is a semi-modular synthesizer consisting of independent analog synth modules, digital effects, and a sequencer. Each of the modules has been carefully selected for its stand-alone completeness. The modules are internally connected so that sound can be produced even before connecting the included pin cables, and the routing is shown by white lines on the panel. Module connections via a pin cable take priority over the internal connections, bypassing them.
SOURCE：
This consists of a triangle VCO carrier and a modulator. The complex overtones generated by FM modulation are sent through a wave folder circuit to add additional overtones, producing a distinctive sound. This module is important in determining the basic character of the sound of volca modular.
FUNCTIONS：
This section consists of two function (envelope) generators. In addition to an ADH generator with attack, hold, and release, there's a Rise-Fall generator, also known as a slope generator, which not only applies time-varying change to the sound but also lets you patch the end trigger out back into the trigger in as a loop, making it usable as a VCO or LFO.
WOGGLE：
This is a random signal generator containing a sample & hold circuit that uses pink noise as its source. Two outputs are provided, allowing it to output either stepped or smooth random noise.
SPLIT：
This module distributes one input to two outputs. It can also be used in the reverse direction, combining two control or audio signals into one.
DUAL LPG：
This consists of two low-pass gate circuits. Typical of the West Coast style of synthesis, the module packages a filter with an amp, allowing the brightness and volume of the sound to vary together.
UTILITY：
This is a mixing scaling module that combines two signals in various ways. It can mix not only audio signals but also control signals, as well as inverting or attenuating those signals.
SPACE OUT：
This is a stereo module that applies a reverb-like effect to the audio signal.
SEQUENCES：
This module is for connecting to the internal sequencer. You can set the tempo, and select different rhythm divisions to output via the gate counter.
Analog synthesizers in which a simple oscillator such as a saw wave or square wave is modified by a filter are referred to as "East Coast style" because of their origin from well-known American manufacturers. Synths of this style, as exemplified by the MS-20, have continued to evolve toward a goal of being used in many mainstream musical genres, thus being equipped with a keyboard for performance. Their sounds are notable for sharp filters and rich presence, and can be heard in many well-known songs.
Synthesizers of the "West Coast style" evolved in a uniquely different direction from such musical developments. Pursuing the freedom that is inherent to electronic musical instruments, these were based on oscillators such as FM modulation which generated numerous overtones, and used random and complex control signals and low-pass gate circuits to vary tonal character and volume, so that slight movement of a knob might dramatically transform the sound. While their potential was acknowledged, the resulting sound and its changes were difficult to predict, causing these synths to be used in a more experimental capacity.
For these reasons, hardware products of this style have been few in number. However, recent years have seen the popularity of modular synths such as Eurorack, as well as DAW plugin instruments that resurrect classic bygone synths of the past. This world-wide movement toward embracing interesting sounds has received renewed attention, spurring a new look at the sounds of this style.
Starting from analog, and freely taking in all elements including FM and PCM, the volca series has also focused on this trend. And now, this distinctive "West Coast style" sound has been added to the KORG volca series.
Patching allows infinite possibilities
Volca modular’s modules are connected via the included pin cables, allowing a diverse range of combinations. The unit's compact chassis provides 50 patch points. Inputs and outputs are color-coded for recognition at a glance, and the signals are also marked by symbols to indicate audio, control, gate or trigger. Normally, each signal is connected according to its use, but on the volca modular, signal levels are universally compatible between modules, allowing hidden possibilities to arise from patching that defies common sense. Twenty pin cables are included, and also included is a reference sheet explaining each patch point and providing basic examples of patching.
Volca sequencer elevates experimental sounds into music with a sixteen-step sequencer that can automate parameters
While the volca modular is a semi-modular synth, it is equipped with a full-fledged 16-step sequencer providing a wide range of functions, letting you enjoy automatic performance even when used stand-alone.
Using the 16 buttons familiar from the volca series, you can perform step input or use the buttons as a keyboard for realtime recording. The pattern chaining function plays back multiple sequence patterns in succession, allowing you to connect up to 16 sequences with up to 32, 64, or even 256 steps to create large-scale development.
The motion sequence function records knob movements, letting you add time-varying change to the sound. You can create loops, or use this function live for strikingly original performances. Up to 16 sequence patterns and sounds can be saved in the unit.
Also provided is an active step function which lets you play back while skipping the steps you specify. You can skip the latter half to produce a short loop, use an alternate time signature to create polyrhythms, and evolve sequence patterns in real time to create a dynamic performance.
Randomize function that can generate accidental ideas
The sequencer of the volca modular lets you specify randomization for notes, active steps, and micro tuning. Irregular phrases, rhythms, and scaling that would be unlikely to come to mind can be generated by applying randomness, letting the volca be a source of unknown ideas.
Two new modes added for sequence playback
Two new sequence modes have been added: bounce sequence mode which makes a round trip through the steps, and stochastic sequence mode which gradually proceeds while randomly moving forward and backward. Playing back a recorded sequence in a different form can add dramatic changes to your song or performance.
Musically advanced scales, keys, and micro tuning
Although the volca modular is a West Coast style synthesizer, it also provides flexible support for music as a contemporary instrument. You can choose from 14 types of scale including equal temperament. Since you can also specify the tonic key from which these scales start, you can play these scales in any key.
There's also a micro tuning function that lets you individually specify the pitch of each note. You can pursue your own unique music by performing in an original tuning with the pitch of individual notes raised or lowered.
Excellent playability
Connectors that allow synchronized performance and external control
With a sync jack that allows easy connection to a Korg groove machine, you can connect the volca modular to another volca series unit, a minilogue, monologue, or prologue, an electribe, or the SQ-1, and enjoy sessions with the sequencer synchronized to the playback.
The CV IN jack for external control is a TRS mini stereo jack that lets you input two signals. The left channel can input a ±5V signal and the right channel can input a signal of 1V/oct (0–+6V) signal which is internally converted to pitch CV within the volca modular. Of course, each of these two signals can also be patched to control a module.
Enjoy anywhere
Compact, size, battery operation, and built-in speaker mean that you can take this unit anywhere and enjoy playing at any time.

Aside from the earlier desktop version, many of you requested for a keyboard version of the UB-Xa synth and hence we thought we’d share some designs with you.
We have asked our engineers to render a 5-octave keyboard version and use this opportunity to show you some of the insights how such a product is developed.
It all starts with the industrial design as well as definition and placement of all functional controls. Once this is completed, the next step is to transfer the “dxf” file which contain the component coordinates plus the artwork for the silk screen printing to the mechanical engineers.
Their job is now to translate the artwork into a fully functional design. In general this works quite smoothly but there are instances where mechanical conflicts arise and artwork changes are required. This collaboration between industrial designers as well as mechanical and system engineers gets more complicated whenever electrical or mechanical constraints come into play.
Over many decades our engineering teams have created a massive component library of close to 100,000 components which have been designed in a photo- and dimension-realistic manner.
This means that any product that is designed based on components from the library will automatically look and feel real, which helps us not only to shorten the design and review process but also skip all photography. As a result any changes can be done almost in real-time and there is no need for traditional photography anymore which is a huge time and cost saver. All our product images on our websites are renderings.
Today I am asking for your feedback in relation to the current design. Do you prefer a keyboard over a desktop version and if yes would you vote for a 4 or 5 octave version. Please remember that the actual features have not yet been decided as we’re still gathering valuable input.

Introducing the Strike MultiPad from Alesis - the first percussion pad incredible enough to earn the Strike name. The Strike MultiPad is an incredibly capable and versatile device that far surpasses the performance and creative potential of any previous electronic drum pad. Never before has such sheer percussive power been built into a single unit or been so easy to play. SAMPLE anything you want – any sound, any effect, from anywhere. EDIT your samples and loops with the five built-in effects processors. LOOP-based recording of your performance is a snap, either from the samples you created or the live audio looper. PERFORM better, faster, with more creativity, versatility and capability than any other drum pad, anywhere.

Thanks, I think the eBay EPROMS are version 1.07. Which I already have installed in my S4 rack. This EPROM 1.07 does not upgrade the S4 to S4 Plus.
I also own an S4 Plus (with version 2.00 EPROM) and just swapping EPROM did not work - there must be other chips needed.
It would be good to know what was included in the kit.
I note my S4 main board is marked S4 and the S4 Plus is marked S8, so maybe the S4 upgrade required a complete swap out of the main board and not just the EPROM and other chips. Maybe circuit board modifications were needed? (trace cuts, jumper wires?).

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Radio Has Changed
I am not sure what you were up to this weekend-- following the end of the U.S. shutdown, reading a book, enjoying a slice of pie. Whatever it was, you may not have noticed that radio changed forever.
Now, there will always be those who need to hear Jimmy Buffett once again, who love their “Margaritaville” and their Classic Rock Radio. I am not here for those people. I am here for folks who feel that their listening experience(s) are lacking something. I want to provide that missing mystery element.
And I want to do so using these 3 free, Public Domain Internet Radio Stations:
Endless Dub Radio-- You may love dub music as I do. What I wanted to do was to lay down a number of beat and basslines, and to allow the computer to select randomly from sets of sounds, looping a set of these sounds over the beats. I call the loop sets “Sessions”, and each has many sounds to choose from. As a result, when you tune in to Endless Dub Radio, you hear fresh version after version of dub-- never the same moment twice. To make things better, and in the spirit of dub music, you can bring the sounds in or out. Certain browsers allow you control the level(s) of each of the embedded players, and all allow you to turn players on or off. Tracks load themselves after each beat segment fades out, so the stream continues to evolve. Participate as much or as little as you choose, Endless Dub Radio is for you, not for profit, or for any commercial interests whatsoever: http://www.thomasparksolutions4.com/
Generative Soundscape Radio-- In a similar spirit, and with a similar functionality, GSR pulls randomly-chosen sets of sounds from particular Sessions. These sounds are soundscape elements. There are no beats with this station, just quiet ambient and drone elements that loop for periods of time and, when the first sound ends, cue a new set of sounds to load. This station has effectively held my interest for hours on end, and I have also managed to sleep while letting it play. Listeners can change sound levels using embedded controls. Generative Soundscape Radio is also not-for-profit, and its code and sounds are available in the Public Domain: http://www.thomasparksolutions.com/
Thomas Park Audio Explorer-- Listening to a radio station compose pieces for you can be cool, as with these first two stations. Sometimes you may want to listen to pre-recorded material. The Audio Explorer is great for this. Where it one-ups conventional radio is that it draws from multiple playlists, each chosen at random. These playlists, in turn, contain as many as thousands of unique tracks. These tracks are all cc-licensed. Listening becomes a process of discovery. Listeners are able to (and encouraged to) download tracks that interest them from the player page. The Audio Explorer was created in order to help adventurous listeners find music they might have missed. It brings no money in for Thomas Park or for anyone, and its components are Public Domain: http://www.thomasparksolutions3.com/
So, while you were eating pie this weekend, can we summarize the main change in radio? It was that, radio was always run by commercial entities, and served other purposes than its listeners. As of now, radio is free, generative, public domain, and created to serve you.

So, I have always wanted to create my own internet radio station, my very own, apart from Live 365, Stillstream, MindSpiral, and all of the other cool stations out there. My Audio Explorer app was close to being such a thing, but was missing just about 11-12 characters in JavaScript. I began taking a class in JavaScript this week, and was able to fill in the gap in my player code, so that it will keep playing without being prompted-- and now you can listen to the Thomas Park Audio Explorer uninterrupted. There are no commercial breaks, and a number of playlists are featured and selected at random, including, at this time, field recordings of caves and factories, old 78 rpm records, minimal techno from the Zimmer netlabel, all of Treetrunk Records, and more. Come on by, it's free- bookmark us and have a listen. You can even download tracks as they play: http://www.thomasparksolutions3.com/

This is about 30 minutes of a 53-minute show performed live at the Central Library in Saint Louis, MO. Music and video by Thomas Park. Special thanks to the Saint Louis Public Library, and especially Joe Schwartz, and to those able and willing to attend. Thanks also to Hunter Dragon and Osvaldo Cibils for allowing me to use some of their sounds (some sounds also by Thomas Park), and to poetess Amanda Wells for furnishing her vocal talents.

Okay, here's another short new track/video. Sorry.
Begun several days ago. Music created to accompany pen tablet and mouse drawings in paint.net, using a technique of basically drawing, using additions to change then undoing and saving to create the pictures. I wasn't overly impressed with the results so I applied multiple video effects, so the only original images saved are towards the end before the logo (the Gerald Scarfe style looking ones). The music consisted of bits of an improvised sequence broken up into chunks and played back by several different virtual instruments, these fed through various ping pong delays. I added another melodic and a less melodic pattern on top. I wasn't particularly pleased with the result of that either so I fed the whole thing through yet more delays to achieve the final, more satisfactory sound. (6th December 2018)
Still unsatisfied with it today I re-imaged the sound using automated parameters of both Ozone spectral shaper and multi-band stereo imager. (Ian Craig. 7th December 2018)